In-House : Juliette Ezaoui & Ana Milenkovic

Currently on show at Studio Voltaire
16th of Avril to 16th of June 2024

‘The Garden of unearthed delights’, 2024

Comissioned by Studio Voltaire, 2024 

‘In-House : Juliette Ezaoui & Ana Milenkovic’ 
16th Avril - 17th June 2024

Mild steel, Aluminium, Monoprint, oil paint on recycled paper,
1800cm x 110cm

‘Bingo table’, 2024

Comissioned by Studio Voltaire, 2024

‘In-House : Juliette Ezaoui & Ana Milenkovic’
16th Avril - 17th June 2024

Mild steel table with living and mom living things displayed.

150cm x 100cm

‘Witch Stone, Seed Pods, Bee Hive’, 2023

Monoprint, oil paint on recycled paper,
90cm x 64cm

‘Spore, Bingo, Evolution’, 2023

Monoprint, oil paint on recycled paper,
90cm x 64cm

‘Radish, Holley Stone, Electron’, 2023

Monoprint, oil paint on recycled paper,
90cm x 64cm

‘Protozoa, Kale, Voltaire’, 2023

Monoprint, oil paint on recycled paper,
90cm x 64cm

‘Potatoes, Clay, Ants’,2023

Monoprint, oil paint on recycled paper,
90cm x 64cm

‘Collection of Sand II’, 2022

Gloves, parsley, tape, borlitti bean, polyethylene, jade, ceramic, green manure, emergency blan- ket, tape mesure, carolina cayenne chilli, thread, bamboo, rhubarbe, sand, painting from Sukey Sleeper, paper clips, nitrogene, clay, micro organism, polystyrene, dwarf french bean purple queen , painting from Phillip Reeves, golden cayenne chilli, etc.

Site specific installation for OrganicLea aniversary festival. OrganicLea is a community food project based in the Lea Valley in north-east London. With a workers’ cooperative at theirs core, they bring people together to take action towards a more just and sustainable society.

This installation is part of a series of work exploring the system of life. The work is buil with elements gleaned in OrganicLea, its surroundings and components from previous artwork. Introducing the circular economy with its transformation process into the process of the artwork.

The work often lies on a table, a place where thoughts flows and where we have dedicated time to think. The table became a sort of map, a mind map, a Sci-fi map, or simply a map of OrganicLea seen through ants’ eyes? Through a cartographic layout, we jump from the mico and the macro. The components are lined up from A to B, inviting to question the idea of no- menclature, definition and boundaries.

The title comes from Italo Calvino’ book, in his short nouvelle ‘Collection of Sand’ he explores the underneath of what is the purpose of a collection, the impulse of collecting objects and what existential question lies in this act.

‘Collection of Sand’, 2022

Site specific installation realized during a month long residency at the Cyprus College of Art. 

Table, snails, Solandra maxima, scissors, cala- mondin, oil ink, glass of water, 5$, string, eucalyptus fruit, water, brick, video, oxygen, pastel, mirror, liz- zard, pomegranate, pins, charcoal, composite timber, chair, seeds, 120gm paper, oxidised metal, needles, Opunta ficus-indica, olive pips, wire metal, tape, glue, roots.

‘The table maker II’, 2022

Installation comissioned by John Wyatt-Clarke currator for ‘Room Share’ organized by BLINK Collective at the Safe House in Peckham London.

Table, plant catalogue, string, Kalanchoe beharensis, coir, clay, ruller, charcoal, cissors, oyster shell, pearl, aralia, corals, timber, grape stem, glue, needles, paper, metal wire, sand, ink, wool, tape, ceramic.

This work was presented with an audio piece realized by Lisa Hall & Hannah Kemp-Welch
Sound Map (2017), 14 audio works, 2 minutes each.

‘Begonias 2094’, 2021

Installation, Begonias, soil, water, emergency blanquets, charcoal.

Installation shots for Turps final show at Thames Sides Studio Gallery, London.

’2094 Begonias’ is an installation of 27 emergency blankets. On the blankets the entire list of existing species of begonia is written. Written and embedded – seared even – with a process based on charcoal. Alongside the blankets, a large quantity of begonias were planted on the gallery floor. This work questions the gesture of writing in learning, our awareness of botanical species and notions of materiality in a time of fragile virtual information. It make us reflect on where we get flora knowledge nowadays, how all knowledge is transferred and from whom?

Squating, 2021Installation, variation of ceramics

Idendify, isolate, define, label, title, time, enthropy, movement, merge, compose, isolate, identify, define...

Installation, canevas, ceramic, paper, fabric, needles, paint.

Pastel drawings on paper
21 cm x 29,7 cm, recycled paper 110gr

Thoughts about entropy We are what is around us.

First, what are the elements that surround our selves, what are they? That is one of our obsessions ... or is it a necessity for survival?

We constantly strive to define the ‘other’, the external to us, to generate sense and to run from the unknown. The fears, these fears. Defining our environment is to define ourselves. To do so we constantly repeat the following : we look, we divide in order to isolate, then we can locate and therefore define...whatever it is. Eureka, now we are safe, and in response we can anchor ourselves and others.

Time shapes this process. As time passes, it undermines, erodes, dissolves the boundaries of the previously defined elements. And we are back to defining it again, so we look, divide, isolate, locate, define.

One element divided in two gives two elements to divide, n’est-ce pas. The whole process has a hint of pointlessness. Pointless in the time wasted on a recurrent thinking process. But inevitable because to define is to define ourselves and therefore to BE, some enlightenment writers would argue. Maybe keeping boundaries softer may be a key to navigating life with more ease?
Living with entropy.